Scarecrows (1988) Blu-ray review

Chances are if something creeps, crawls, slashes, snarls, bites or brutalizes horror has produced dozens of films about it. Why, then, is there such a dearth of killer scarecrow movies? Perhaps it’s due to the fact that none made so far have been an outright success, but in terms of subject matter scarecrows are tailor-made for terror. Those straw men look nearly human, yet they lack most of the specific features – eyes, mouth, nose, etc. – that make us who we are. They exist very close to the “uncanny valley”; that place where Robert Zemeckis’ creepy CGI humanoids reign supreme. It would seem like horror should be rife with scarecrow pictures. Yet, as of 2015 there are only a handful of films featuring them - most of which aren’t even well liked. The apex of scarecrow horror is almost unquestionably Dark Night of the Scarecrow (1981), a TV movie that far exceeds expectations in every way – the acting, story, atmosphere and scares are outstanding. There’s also Night of the Scarecrow (1995) directed by one of my favorite B-movie helmers, Jeff Burr. A third film that fits nicely between those two is Scarecrows (1988), an underrated quasi-slasher full of nasty kills, creepy moments and unanswered questions. Barely seen upon release, it hasn’t even attained much of a cult following… although that might (and should) change thanks to a new Blu-ray release from Scream Factory.

A squad of former military officers pulls off a daring robbery at Camp Pendleton, CA and gets away with over $3 million in payroll money. The group escaped by hijacking a plane, with the intention of getting down to Mexico. The film likely assumes most people aren’t familiar with the geography of California, because a plane ride from Pendleton to Mexico would take all of twenty minutes. Anyway, as the plane passes over a cornfield Bert (B.J. Turner) decides to rip off his fellow criminals, stunning them with a grenade and parachuting out of the aircraft after dropping the loot. Bert lands in the cornfield and makes his way to an old dilapidated farmhouse. Nobody is home; the place looks like it’s been empty for years. Bert continues on, searching for the money, while his former buddies land the plane and disembark, looking to put a little hurt on ol’ Bert.

Eventually Bert finds the cash, but his fortunes are short lived when the field’s resident scarecrow trio suddenly disappear from their perches and begin stalking him, as well as the men on his trail. Soon, however, the game between thieves must end because everyone has a much bigger problem – ruthless scarecrows are killing and gutting whoever they catch, turning them into new, bloody scarecrows with the same intentions: death and dismemberment.

Director William Wesley and his cohorts produced this film on a shoestring budget, although you wouldn’t know it judging by the final product. The standard script is taken up a few notches thanks to brooding atmosphere and some particularly gruesome FX work, courtesy of Norman Cabrera. Nothing about the robbery group is all that compelling – even the sub-drama of the hostage pilot and his strong-willed daughter is stock material. The three main scarecrows and the mystery of their existence are what carry the film. Wesley provides zero backstory on the scarecrows in the way of traditional exposition. Instead, he does it all through repetition and suggestion; things to which modern horror pictures are blind. Upon entering the farmhouse viewers are shown an old photograph of three men – maybe brothers, maybe not – standing by the cornfields. They are never named or shown in any way other than through the photo, a shot that is repeated frequently. There are also three scarecrows. Wesley, bless his logic, rightly assumed any viewer could surmise these men and these scarecrows are one in the same. But how? That’s the lingering question Wesley refuses to answer, and the film is stronger because of his denial.

On the topic of the scarecrows, FX artist Norman Cabrera, a former student of Rick Baker’s, brings the trio to life with exquisitely sinister results. Each one has a burlap sack covering its head that hides a skeletal, almost demonic visage. Being from a farm, their weaponry ranges from scythes to rakes to daggers… and they do not kill their victims quickly. Late in the film, one of the men remarks that their getaway was “too easy” and they died in the escape; where they are now is simply a version of Hell. Maybe that’s true, because these men (and one woman, can’t leave the ladies out of a good disemboweling) are killed slowly, torturously, before being split open and stuffed with straw and money. Cabrera’s FX work is bloody and realistic. Stunning practical effects work could be done on films with next to no budget if the talent was there, something that is a rarity these days because a no-budget film will just opt for cheap CGI instead of a tangible piece of artistry. Scarecrows is a perfect example of strong artistic achievement elevating a feature.

In addition to the great FX, Scarecrows also excels in creating a tense atmosphere full of dread and claustrophobia despite taking place in an open cornfield. Cinematographer Peter Deming also lensed Evil Dead II (1987), Mulholland Drive (2001) and Drag me to Hell (2009), proving he knows a thing or two about shooting beautiful pictures. Then there’s also composer Terry Plumeri’s score, which uses low-end instrumentation to sell a sense of danger and overall spookiness. So, while the characters and most of the acting may not be the strongest (not that anyone is outright bad), the remaining elements of the film are operating on a high enough level to make a real lasting impression. Scarecrows is one of the better “unseen” gems of the ‘80s and it deserves every bit of praise for delivering such tremendous quality on a miniscule budget.

Those familiar with MGM’s previous DVD will find Scream Factory’s 1.85:1 1080p image to be the natural HD progression of that image, meaning no additional work has been done to alter the picture. Again, despite a low budget the film looks like a more expensive picture, due in great part to the lighting and effective set design. Grain is moderate and looks natural. Black levels are a bit faded, not much of a big deal. Color use is minimal, with the palette full of darker, earthy hues, nothing vibrant. Close-ups show off some impressive fine details, like beads of sweat or pores. There doesn’t appear to be an issue with compression either. Overall, a very good effort that offers a closer approximation of the film print.

Viewers have the choice of an English DTS-HD MA surround sound track, either in 5.1 surround sound or 2.0 stereo. The 5.1 track has a wider range and sounds a little fuller, but then again the film was originally mixed in Ultra Stereo so you really won’t be missing much by selecting the 2.0 track. The rears hardly get much use anyway. Dialogue sounds clean and is easy to understand. A lot of the film relies on subtlety and the film’s sound design adds in a plethora of nighttime farm sounds to heighten the tension. Subtitles are included in English.

The first audio commentary features director William Wesley and producer Cami Winikoff. Moderated by Rob G, this track stays on a solid pace throughout, with Wesley and Winikoff recalling stories about shooting schedules, cocaine, airline crashes and influences. The second audio commentary has co-screenwriter Richard Jeffries, D.P. Peter Deming and composer Terry Plumeri. This is actually a series of interviews conducted by Michael Felsher that play over the film for the entire running time. This approach works fine because none of the participants has a role that would necessarily require scene-specific commentary.

“The Last Straw with Norman Cabrera” has the film’s FX artist talking about the vibe of the shoot, how he got started in the industry, working with Rick Baker and more.

“Cornfield Commando with Ted Vernon”. Vernon, who also produced the film, spends as much time talking about his life’s achievements as he does talking about the film. He’s one of those “larger than life” types.

A reel of original storyboards, a still gallery and the film’s trailer (all in HD) are also included.

Mad Max (1979) Blu-ray review

Long before Mel Gibson was one of the biggest actors in the world, and long before post-apocalyptic films featuring marauding gangs of lunatics were churned out by the dozen, there was Mad Max (1979). In writer/director George Miller’s seminal film, the world hadn’t quite gone to hell yet – that would be saved for the (arguably) best film in the series, Mad Max 2 (1981, a.k.a. The Road Warrior) – but the writing was seared onto the walls. Miller’s dystopian wasteland set a tone and visual palette that has seen more copies than a Xerox machine. And, really, where better to film such a sparse dust bowl future than the Australia of 1979? Half the country is one big desert already. What really gives Mad Max the power of longevity is the strong characterization, with each actor bringing a distinct flair to their respective roles. Additionally, there’s a real sense of danger here – anyone could be a victim at any moment, and even Max’s fate isn’t assured as he attempts to do his job amidst a maelstrom of violence.

Opening “a few years from now…” the film joins in on the hot pursuit of a wanted cop killer, known as the Nightrider (Vincent Gil), who so far has managed to successfully evade the Main Force Patrol (MFP) officers in tow. But he isn’t so lucky when Max Rockatansky (Mel Gibson) gets on his tail, ending with the Nightrider’s fiery death. An energy crisis has left much of the Outback low on fuel and sparsely populated, with motorcycle gangs patrolling the streets and terrorizing citizens. The MFP’s main directive is to keep the highways safe and stop the gangs by any means necessary. Their job is made very difficult, however, due to political red tape and crooked lawyers who lobby hard for their scummy clients. Max’s partner, Goose (Steve Bisley), loses his cool when a suspect he knows is guilty winds up being released due to a technicality. Later on, that same suspect, Johnny “the boy” Boyle (Tim Burns), is egged on by the gang’s leader, Toecutter (Hugh Keays-Byrne), to horribly burn Goose while trapped in a wrecked car they helped demolish. Max is stricken with grief after seeing his partner’s wounds and quits the force. He’d rather spend his days traveling with his wife (Joanna Samuel) and new baby, enjoying the countryside. But when an unexpected run-in with Toecutter and his gang rips Max’s idyllic world right in two, the former MFP officer becomes focused on only one thing – brutal and swift revenge.

If there’s one aspect of Miller’s film that helped make it a massive success (other than Gibson’s laconic, magnetic performance), it’s the stunt work. Mad Max has fast cars, lots of ‘em, and more often than not they wind up in a crumpled heap on the hot asphalt. Adding to the impact of those stunts is the very clear indication that many did not go as planned, but since they had one shot in some instances however the stunt went is how it wound up in the film. When the Nightrider’s car collides with a petrol truck, it’s pretty obvious the car veered off course and didn’t hit the mark, which actually makes the stunt even scarier. And then there are also the numerous motorcycle stunts. During one such stunt, as seen in slo-mo, a wheel smacks the back of the stuntman’s helmet so hard you’d think he died on set. He didn’t, but he was definitely worse for the wear. Miller managed to outdo the stunts seen here when he made this film’s sequel, but for a first-time director this was some big stuff.

It would be interesting to see how today’s audiences – especially those who seem to need every detail of backstory explained ad nauseum - would react to Mad Max were it released today. Aside from the opening scrawl explaining the energy crisis, there’s very little history provided for the MFP, Max or the vicious gangs. I feel this only strengthens the film. Miller provides a solid framework within which these characters operate, and any reasonably sharp viewer should be able to fill in any gaps and make sense of how we’ve arrived at this situation. Just like Max, viewers are thrust into this savage land where danger lurks around every bend in the road. In particular, the Toecutter is an enigmatic force who controls his henchman with a firm grasp despite very little violence on his part. It makes you wonder what his story is. I mean, the guy is called “Toecutter” yet we never see him actually cutting off any toes. This sort of ambiguity would carry on through the series, and Miller always handles it perfectly. Here’s to hoping Max’s resurrection (albeit in a new form) is just as thrilling in Mad Max: Fury Road (2015).

There’s been a great deal of scuttlebutt on the web regarding Scream Factory’s 2.35:1 1080p image. Specifically, whether or not it’s any better than MGM’s previous Blu-ray edition, which was perfectly serviceable but far from perfect. As far as anyone knows the negative has been lost, meaning it would be difficult to improve upon what’s already been released. Unless you’re an obsessive about picture quality and go through a film frame-by-frame analyzing individual hairs and shrubs in the background, chances are you’ll find this edition to be on par with MGM’s release, if not a tad lesser. It does appear that some mild DNR has been applied, leaving skin tones looking occasionally waxy, and the grain structure is… odd; it’s not a visual eyesore but it doesn’t exactly look natural. Still, contrast is generally strong, with good color saturation and appreciable detail in many shots.

There are three tracks from which to choose here – Australian DTS-HD MA 5.1 surround sound or 2.0, as well as the infamous(ly bad) English DTS-HD MA 2.0 dub. The multi-channel Aussie option is your best bet, offering up a dynamic experience featuring great panning of effects and engine roars along with a decent low end during some of the more bombastic sequences. Dialogue has a bit of a reverb thing going on at times, though it never happens often enough to be a problem. Subtitles are included in English.

The audio commentary doesn’t feature the names you’d probably prefer to see – specifically, Miller and Gibson – but it does offer up a perspective from art director John Dowding, director of photography David Eggby, special effects artist Chris Murray and film historian Tim Ridge. Given the jobs of the men involved here, this track offers up a great perspective on the film’s production on a much more technical level. With so many people on the track, the energy remains high and talk stays lively and informative.

“New Interviews with Mel Gibson, Joanne Samuel and Director of Photography David Eggby” (HD) runs for almost thirty minutes. Although nothing too revelatory comes out of these talks, it’s wonderful to hear Gibson speak about the role that launched his career. Mel is candid as ever, brimming with enthusiasm and seemingly stoked to be talking about this seminal film so many years later. Samuel has some great anecdotes about her casting, while Eggby discusses the film’s wild stunt work and dangerous environments.

“Mel Gibson: The Birth of a Superstar” (SD) is a featurette that was included on the previous MGM special editions and covers Mel’s career, from his humble beginnings in Australia right up to his massive career in Hollywood. There’s a lot of gushing and glad-handing, with talk of what makes Mel different from other stars.

“Mad Max: The Film Phenomenon” (SD) is another carryover, obviously focusing on Miller’s film and how it set off a chain reaction of productions centering on post-apocalyptic/dystopian future films.

Two theatrical trailers are included, along with TV spots and a large still gallery, all in HD.

The Voices (2014) Blu-ray review

Ryan Reynolds’ career seems to be in a constant state of flux. To be fair, that’s the story for many actors, but Reynolds has yet to catch a big cinematic break despite nabbing roles in some high profile pictures. Unfortunately, those pictures were titles such as Green Lantern (2011) or X-Men Origins: Wolverine (2009). And the less anyone ever says about Blade: Trinity (2004) the better. So, whether because of his big budget bombs or not, Reynolds has been delving into the world of DTV and killing it – literally. He dabbled in playing a mentally unstable character before, with The Amityville Horror (2005) remake, but in The Voices (2014) he veers off into full-on serial killer territory. Think of it as if Patrick Bateman moved out of NYC, got a minimum wage job at a factory and adopted a couple of pets. Add in copious amounts of pitch black humor and the end result is something that’s likely to hit my top ten list once the year is through.

There isn’t a lot to worry about when you’re living in Milton. The quiet suburb is home to a bustling fixtures factory, where Jerry (Ryan Reynolds) is just another happy cog in the corporate wheel. He’s a bit socially awkward but always well-meaning and willing to help out. When he’s asked to assist with planning a little corporate picnic, Jerry agrees; at the meeting he finds himself fawning over Fiona (Gemma Arterton), a hot British import who works in finance. A shrink Jerry sees thinks getting out would be a good thing… assuming he’s still taking his court mandated meds. You are taking your meds, right Jerry? Jerry asks Fiona out, and she agrees in the sort of way that a person who isn’t really interested but can’t quickly think of a good reason to say “no” does. This goes over Jerry’s head and he ramps up his excitement. Their date doesn’t go as planned at all, but when the night is through Jerry still manages to find himself on top of Fiona… sticking a knife in her chest. Whoops. Once he does his best to clean up the mess he made, his two best friends – Bosco and Mr. Whiskers (both voiced by Reynolds), his dog and cat, respectively – discuss with Jerry the ramifications of his actions and whether or not he should get back on his meds or just continue killing people because it seems to be what he does best.

This is one of those films where it isn’t a novel story that sucks you in but, instead, it’s the idiosyncrasies of our lead character that wholly carries it. Reynolds’ Jerry is a weird man who does a lot of very horrible, gruesome things to his very personable co-workers (even Fiona isn’t a complete bitch), but it’s because Reynolds exudes a boyish charm, aided by being easy on the eyes (or so my girlfriend constantly tells me) and you’ve got a serial killer who, again, is not dissimilar to Patrick Bateman in that you can find him almost sympathetic despite his actions. Unlike Bateman, though, Jerry is supposed to be taking meds due to a childhood incident. When he’s off them, that’s when the film immediately thrusts viewers into the dark, decrepit world in which Jerry truly lives. But that place is no fun! Jerry prefers to exist in a fantasy land where everything is in its rightful place, but it’s only visible when he’s not sucking down his prescribed dosage; plus taking those pills means his two best friends – the dog and cat – are nothing more than regular house pets. Jerry’s continually unstable mental state keeps the film feeling fresh right up to the end because his behavior is so unpredictable. Even when you’re expecting him to perform certain actions, watching how Jerry surveys a scene and comes to his decisions based on such ill logic is wonderfully displayed.

The supporting characters serve little function aside from moving the plot along and putting Jerry where he needs to be. Still, credit is due to Anna Kendrick for playing a potential love interest for Jerry, although Jerry is completely clueless in regard to picking up on her obvious hints. There’s usually something a bit too twee about Kendrick for me, but she’s perfect here and a great fit for Jerry since she seems a bit “off”, too. Of course, the film still finds a way to showcase her singing abilities; at least it’s done fittingly.

Who could’ve guessed something this grim and full of gallows humor would come from the Academy Award-nominated director of the French-Iranian animated film Persepolis (2007)? You might’ve if you caught producer Adi Shankar’s name on the back cover, too. He might look like someone opened an Ed Hardy factory in India, yet his filmography shows that he makes bold, original films that usually operate outside the traditional studio chum. The Voices is a dark comedy on the level of John Waters’ Serial Mom (1994), only more gruesome and unsettling. Ryan Reynolds gives a performance that I’d call his best yet and it ends with a choreographed dance for Jesus that is the perfect capper on this off kilter picture.

There’s little fault to be found in the film’s 2.35:1 1080p picture. Lionsgate’s transfer is highly detailed and crisp, displaying a great sense of depth and featuring strong detailing. Contrast is excellent – black levels remain dark and never look hazy. Jerry’s world is always vibrant and bright, with lots of pastels and colorful hues. In contrast, when reality is shown the picture switches to showcase squalid conditions and disgusting living conditions, using darker hues and less lighting. Under all conditions the image holds up beautifully. A few scenes look a tad soft; that’s about the worst I can say.

The English DTS-HD MA 5.1 surround sound track is tremendously effective and engaging. Right from the start the level of immersion is apparent and impressive. Sound effects are well-balanced and separated nicely to allow for audible spacing. The rear speakers are continually aflutter, especially during the thunderstorm when lighting is cracking and thunder booms intensely. The disc also includes a Spanish Dolby Digital 5.1 surround sound track. Subtitles are included in English, English SDH and Spanish.

“The Voices: From Fridge to Frame” (HD) is more or less a typical EPK, just with a bit more information to go around. It doesn’t get too deep although there are interesting takeaways.

“VFX: The Making of Bosco and Mr. Whiskers” (HD) - The animals talk, their mouths move, and it was of the utmost importance that everything look seamless when shown on screen.

“VFX: Comparison Showreel” (HD) - Shot progressions are shown, from the in-camera image right up through once digital elements have been added.

“The Voices of Ryan Reynolds” (HD) - Reynolds makes some funny faces when voicing the film’s animals. Watch him do just that here.

A handful of deleted scenes (HD) are mostly little bits of exposition, with a lengthy scene that would’ve come near the end of the film where he “talks” to his dad.

Extended scenes (HD) add a bit more to Jerry’s job and his disastrous date with Fiona.

A reel of animatics (HD) shows off the film’s storyboards, with off-screen actors voicing the roles.

“Cast & Costume Sketch Gallery” (HD) shows off 18 images of the film’s characters and their looks.

From A Whisper To A Scream (1987) Blu-ray review

Director Jeff Burr has helmed a handful of dubious cinematic achievements in the world of horror – nearly all of them sequels to popular titles – but the only horror film he’s ever directed that he feels is his and his alone would be From a Whisper to a Scream (1987 – a.k.a. The Offspring), his second feature. Personally, I’ve long had an appreciation for Burr’s work and I find him to be a genuinely affable, enthusiastic personality who is brimming with wonderful stories and good ol’ boy charm. Leatherface: The Texas Chainsaw Massacre III (1990) is still my favorite sequel in that series. But on that film, and others such as Pumpkinhead II: Blood Wings (1993) and The Stepfather II (1989), Burr was hampered by studio executives, looming timelines and a near-total lack of creative input or control. The only time he’s enjoyed complete freedom on a horror picture was with From a Whisper to a Scream, a horror anthology that has aged quite well in addition to featuring one of the legendary Vincent Price’s final roles.

Oldfield, TN is a town with a rich history… of evil happenings. On the eve of a murderess’ execution, a local reporter (Susan Tyrell) pays a visit to the town’s historian, Julian White (Vincent Price), who happens to be the uncle of the newly-deceased woman. When pressed by the reporter about his niece’s history of violence, White seems apathetic and resigned. According to him, evil has had a foothold in Oldfield for a very long time and this is simply par for the course. He produces an old journal of tales long forgotten and schools the reporter on the town’s malevolent past.

The first tale, set in modern day, centers on Stanley Burnside (Clu Gulager), an awkward towhead living with his sister. Stanley is desperate for a woman, so he sets his sights high and asks out his boss, Grace (Megan McFarland), who for some reason agrees. After dinner, Stanley gets grabby in the car and, after being spurned, decides the best course of action would be to choke Grace to death. But he never got laid! No matter, once Grace’s funeral concludes Stanley brings some champagne to her coffin and drives in one final nail. But come nine months later he’s in for a shock.

Our second story goes back to the ‘50s, where Jesse (Terry Kiser), a small-time scoundrel, is hiding out from some gangsters he ripped off. Jesse makes a run for it but gets shot before managing to stumble into a rowboat and sail out into the swamp. He awakens in a ramshackle cabin, owned by a genial old black man (Harry Caesar) who nurses him back to health. When the man goes out to town, Jesse, being the scumbag he is, goes through the man’s belongings looking for loot. Instead he stumbles across a life-changing secret, one that he’s foolish enough to go after.

Next up, we travel further back to the ‘30s and visit a carnival, where glass eater Steven (Ron Brooks) performs with a sideshow of freaks. He’s in love with a local girl who has a mouthful of a name, Amarilliss (Didi Lanier), but the controlling owner of the carnival, Snakewoman (Rosalind Cash), refuses to allow him to leave. Steven and Amarilliss attempt to flee, but they both soon realize that Snakewoman’s voodoo powers can reach far beyond the borders of the circus tent.

Finally, the film goes way back to the Civil War, following a trio of men – led by Union Sgt. Gallen (Cameron Mitchell) – who come across a stronghold being commandeered by a group of children. At first they don’t take the children or their code of conduct seriously, but after witnessing what happens to those who disobey Gallen and his men (or, more appropriately, what’s left of them) beg for mercy.

I’ll admit to not being so hot on Burr’s film the first time I saw it. The pacing is deliberate and slow, which I suppose is apropos given the Southern setting, and the stories come across a bit half-baked and lacking succinctness. Upon second viewing, however, my opinion has changed. I found myself drawn into each of White’s tormented tales, appreciating how the film goes further back into the town’s legacy successively to establish a long pattern of weird, evil stuff. The stories are also unremittingly grim, stinging with final moments that barely give you enough time to mentally digest what’s just occurred before moving on to the next wicked tale. Burr and his co-writers each wrote distinct stories that are amazingly strong, given that none of them had ever worked on a feature before.

Additionally impressive is the cast that has been culled, anchored by Price and featuring a few other heavy hitters who were a bit past their prime but certainly added gravitas to what was a low-budget film by filmmakers who has no solid credentials – actors such as Cameron Mitchell, Clu Gulager, Lawrence Tierney and Harry Caesar. Nobody is phoning it in here, either; these guys took their roles seriously and the film is all the better for it. Ok, maybe Mitchell isn’t giving it his all but that’s also part of his twilight years-charm. Price may have later said he regretted taking his role, having grown tired of horror pictures, but his presence adds such prestige it can be seen as invaluable.

Burr and his cohorts may have been almost entirely green in the film industry, but they weren’t in over their heads making From a Whisper to a Scream. As one of the included documentaries shows, they had all been toiling away on Super 8 home movies for years, and this was simply the next logical step. Horror is often an “easy” introductory genre for those looking to break into feature filmmaking. Combining filmmaking know-how with twisted tales, peppered with taboo subjects few outside the European or exploitation market employed, this is a horror anthology that can stand tall among the big boys such as Creepshow (1982) or Tales from the Crypt (1972).

After making it past the opening optical credits, which experience some minor telecine judder, the film’s 1.85:1 1080p image stabilizes to show off a surprisingly strong 35mm picture. What’s most impressive about this transfer are the rich, stable black levels and consistent contrast. Film grain is very much apparent, and very thick, but it never looks clumpy or noisy. The print used here was kept in great shape, with only minor flecks appearing intermittently. To be honest, little imperfections such as those help maintain a filmic appearance, reminding viewers they’re watching a vintage 35mm print, albeit digitally. Bright and sunny daylight shots obviously enjoy the greatest exhibition of details and texture, while the darker shots (which are a majority of the film) do lack crispness and appear much softer. On the major plus side, the film’s practical effects are so awesome in that ‘80s a-step-or-two-above-homemade sort of way, and most manage to retain a level of quality in the jump to HD.

Despite the back cover’s claims, the audio here is not an English DTS-HD MA 2.0 track but, rather, an English LPCM uncompressed 2.0 offering. Does this matter much? It won’t for most. Personally, the most effective aspect to the sound was during the opening credits, when a beating heart quickens in pace as names appear. Jim Manzie’s score is great work because he had to compose distinct music for each of the time periods set within the film. His compositions perfectly complement every era. That aside, this is a fairly routine track featuring a good balance for the dialogue, modest separation and an adequate sound design. Subtitles are included in English.

“Return to Oldfield: The Making of From a Whisper to a Scream” (HD) is a documentary that runs for nearly two hours. Clocking in at almost twenty minutes longer than the film itself, this exhaustive piece uncovers every last bit of information known about all aspects of the film’s production, from start through finish. Burr and his childhood buddies turned fellow filmmakers talk about their respective roles on this film. Each has a lot to contribute, detailing how Burr’s idea to do a road movie somehow turned into a horror picture, the reasoning behind doing anthology, getting Burr’s brother involved to handle business affairs, securing Vincent Price (or almost not), shooting on short ends, and a crew mutiny that threatened the picture. This is easily one of the best making-of pieces Scream Factory has produced.

“A Decade Under the Influence” (HD) is another feature-length documentary, this one running for 1 hour and 17 minutes. Although a bit before my own time, this ode to Super 8 filmmaking still feels like childhood. Burr and his filmmaking friends recount the endless home videos they shot using the relatively inexpensive Super 8 cameras and film. There are lots of clips, in full HD, and they’re really awesome to watch. This is one of the cooler features to wind up on any Blu-ray.

Writer/director Jeff Burr delivers the first audio commentary. Those who have heard a Burr track before know he’s never at a loss for words and there’s so much information racing to come out of his mouth his excitement is palpable. He’s not as redundant as you might think given how much the documentary covers, so this is still worth listening to if you want to know it all.

Next up, writer/producer Darin Scott and writer C. Courtney Joyner are on hand for a track that is no less lively than Burr’s. After discussing actress Martine Beswick’s James Bond series past, these two delve deep into talk of topics ranging from using Roger Corman’s studios to who-knew-who-in-order-to-cast-who in the movie.

A plainly named “stills gallery” is actually a massive collection of every bit of ephemera related to the film, as introduced and commentated upon by Jeff Burr. There’s some really cool stuff in here.

A theatrical trailer is listed among the features yet selecting it yielded nothing but a blank screen. The TV spots, however, worked just fine.